Evelyn Wynn Dr. Michael Williamson ENGL 864: British Literature 1660-1900 June 19, 2014 Marriage Plots in Jane Austen’s Mansfield Park During the late 19th century, the lifestyle, culture and mores of women began to change. Although this change was gradually seen in the works of women writers, one of the common themes that female writers addressed was that of marriage. Single women living in the 19th century were hampered not only by their gender, but also by their marital status. Jane Austen was one of many women writers who addressed the theme of marriage in her works. Specifically, she shows how marriage impacts the characters and plot throughout Mansfield Park. Therefore, in this paper I will provide a brief overview of the marriages and proposals that transpired throughout the 468 page novel along with a brief overview of how Austen eloquently pronounced the various relationships. In Volume I, Austen lays the foundation for marriage in the novel. In Chapter 1, the author informs the reader that the story commences with an overview of the marital status of three sisters: Lady Bertram married upward to a wealthy baronet who had “the good luck to captivate Sir Bertram”; Mrs. Norris married a parson and finds herself “obliged to become attached to the Reverend Mr. Norris who has been provided living quarters by Lady Bertram’s husband; and Mrs. Price married a naval officer who was wounded, and now lives off of his pension. It was the “improper marriage” of Mrs. Price [Frances] that caused division in the family. Austen wastes no time in letting the reader know the significance of marriage. After all it is a woman’s “placement or positioning” in society. As the play progresses, Mary Crawford, in Chapter 5, is extremely interested in Fanny’s status as a young lady. While it is obvious to the reader that both sisters, Julia and Maria, are interested in Henry Crawford, Mary wants to know Fanny’s status because she may prove a possible threat to a rival for the attention of men. The question becomes ‘a threat for whom?’ Mary inquires: “I begin now to understand you all, except Miss Price,” . . . . “Pray, is she out, or is she not?—I am puzzled. —She dined at the parsonage, with the rest of you, which seemed like being out; and yet she says so little, that I can hardly suppose she is” (76). A young woman, during this time period, would be formally presented to society via some type of ball, and after this debut she would be admitted to social events. Mary’s concern about Fanny being "out" in society means that she could be courted by young men seeking marriage. Perhaps, Mary Crawford was doing a little foreshadowing about her brother Henry Crawford and Fanny. In Chapter 6, Mrs. Norris suggests that they visit Sotherton to survey Mr. Rushworth's property so they would be better informed about the value and condition of the estate. The two sisters are excited about seeing the property, especially Maria because she wants to ensure that her marriage to Mr. Rushworth is worth it. Maria is in love with the idea of being married as she considers it her “evident duty,” a passionless union that is quickly dismissed. Austen writes, Being now in her twenty-first year, Maria Bertram, was beginning to think matrimony a duty; and as a marriage with Mr. Rushworth would give her the enjoyment of a larger income than her father’s, as well as ensure her the house in town, which was now a prime object, it became by the same rule of moral obligation, her evident duty to marry Mr. Rushworth if she could (67). After Austen establishes the theme of marriage, the plot thickens with proposals and marriage in Volume II. Here, the author focuses on marriage and the proposal scenes which focus more on the art of persuasion using little dialogue. This ‘down-playing’ of dialogue tends to make the reader fail to consider the couples’ relationships rhetorically. Rather, the processes of persuasion that Austen uses allow the characters to understand their own passions and influence the passions, understanding, imagination, and, most importantly, the will of others to act. In Chapter 21, although their engagement was introduced in Volume I, the marriage between Maria and Mr. Rushworth is seen as insignificant. Maria’s father finds Mr. Rushworth to be an ignorant man; therefore, he does not want his daughter to be unhappy. When Sir Thomas shares his concerns about Mr. Rushworth, Maria thanks him for his “paternal kindness,” but tells him that she has “the highest esteem for Mr. Rushworth’s character” (216). So, they marry. Austen purposefully does not allow the reader to witness the wedding as it is insignificant to the plot. Austen writes, “It was a very proper wedding . . . . It was done, and they were gone” (218). In most novels, the plot ends with the wedding; this wedding, however, occurs in the middle of the novel, implying that it has no relevancy to the overall plot. Another example can be found in Chapter 31. Here, Austen presents an unsuccessful marriage proposal by Mr. Crawford to Fanny. When he informs Fanny that he has arranged for William to be promoted, she realizes that he is blackmailing her. Being of moral character, she does not “dump” him immediately, but knows that she has to reject him. Obviously, this marriage proposal upsets her. Fanny responds, “No, no, no, . . . This is all nonsense. Do not distress me. I can hear no more of this. Your kindness to William makes me more obliged to you than words can express; but I do not want, I cannot bear, I must not listen to such-No, no, don’t think of me” (308). Fanny realizes that she and Mr. Crawford do not share the same values - integrity, honesty, and goodness. A key point is that Fanny tells him emphatically no, yet everyone keeps trying to get her to change her mind. After Maria runs away with Mr. Crawford, we learn in Chapter 47 that Julia marriesMr. Yates because she is afraid of what her father, Sir Thomas, might do. Like Julia’s marriage to Mr. Rushworth, Austen considers their marriage insignificant. While Sir Thomas tries to find Maria, he learns that Julia has eloped with Mr. Yates. Austen writes, “. . . and Julia’s elopement, the additional blow which had met him on his arrival in London, though its force had been deadened at the moment, must, she knew, be sorely felt” (449). In the final chapter of the novel, Austen does as she did in the introductory chapter, she steps out of the narrator’s role and speaks as the author. She says she does not want to dwell on unhappiness, so she gives the good news about the resolution of the story. Let other pens dwell on guilt and misery. I quit such odious subjects as soon as I can, impatient to restore every body, not greatly in fault themselves, to tolerable comfort, and to have done with all the rest. (457) Austen has nurtured Fanny and Edmond’s relationship from the outset. She writes: I purposely abstain from dates on this occasion, that every one may be at liberty to fix their own, aware that the cure of unconquerable passions, and the transfer of unchanging attachments, must vary much as to time in different people. . . (465)
With such a regard for her, indeed, as his [Edmund] had long been, a regard founded on the most endearing claims of innocence and helplessness, and completed by every recommendation of growing worth, what could be more natural than the change? Loving, guiding, protecting her, as he had been doing ever since her being ten years old, her mind in so great a degree formed by his care, and her comfort depending on her kindness . . . (465) And so as the plot goes, it ends with the wedding. Austen points out With so much true merit and true love, and no want of fortune and friends, the happiness of the married cousins must appear as secure as earthly happiness can be.—Equally formed for domestic life, and attached to country pleasures, their home was the home of affection and comfort . . . . (468) In closing, Jane Austen, in Mansfield Park, shows how unmarried women in fiction situate themselves to respond to other characters to meet societal expectations of being married. This paper will be posted at the end of this session (class) today if you would like to read and respond to it. Thank you! QUESTION: How do you see the role of women writers and their treatment of marriage? Is it a fair assessment? Is it an exploited topic?
Dr. Michael Williamson
ENGL 864: British Literature 1660-1900
June 19, 2014
Marriage Plots in Jane Austen’s Mansfield Park
During the late 19th century, the lifestyle, culture and mores of women began to change. Although this change was gradually seen in the works of women writers, one of the common themes that female writers addressed was that of marriage. Single women living in the 19th century were hampered not only by their gender, but also by their marital status. Jane Austen was one of many women writers who addressed the theme of marriage in her works. Specifically, she shows how marriage impacts the characters and plot throughout Mansfield Park. Therefore, in this paper I will provide a brief overview of the marriages and proposals that transpired throughout the 468 page novel along with a brief overview of how Austen eloquently pronounced the various relationships.
In Volume I, Austen lays the foundation for marriage in the novel. In Chapter 1, the author informs the reader that the story commences with an overview of the marital status of three sisters: Lady Bertram married upward to a wealthy baronet who had “the good luck to captivate Sir Bertram”; Mrs. Norris married a parson and finds herself “obliged to become attached to the Reverend Mr. Norris who has been provided living quarters by Lady Bertram’s husband; and Mrs. Price married a naval officer who was wounded, and now lives off of his pension. It was the “improper marriage” of Mrs. Price [Frances] that caused division in the family. Austen wastes no time in letting the reader know the significance of marriage. After all it is a woman’s “placement or positioning” in society.
As the play progresses, Mary Crawford, in Chapter 5, is extremely interested in Fanny’s status as a young lady. While it is obvious to the reader that both sisters, Julia and Maria, are interested in Henry Crawford, Mary wants to know Fanny’s status because she may prove a possible threat to a rival for the attention of men. The question becomes ‘a threat for whom?’ Mary inquires: “I begin now to understand you all, except Miss Price,” . . . . “Pray, is she out, or is she not?—I am puzzled. —She dined at the parsonage, with the rest of you, which seemed like being out; and yet she says so little, that I can hardly suppose she is” (76). A young woman, during this time period, would be formally presented to society via some type of ball, and after this debut she would be admitted to social events. Mary’s concern about Fanny being "out" in society means that she could be courted by young men seeking marriage. Perhaps, Mary Crawford was doing a little foreshadowing about her brother Henry Crawford and Fanny.
In Chapter 6, Mrs. Norris suggests that they visit Sotherton to survey Mr. Rushworth's property so they would be better informed about the value and condition of the estate. The two sisters are excited about seeing the property, especially Maria because she wants to ensure that her marriage to Mr. Rushworth is worth it. Maria is in love with the idea of being married as she considers it her “evident duty,” a passionless union that is quickly dismissed. Austen writes,
Being now in her twenty-first year, Maria Bertram, was beginning to think matrimony a duty; and as a marriage with Mr. Rushworth would give her the enjoyment of a larger income than her father’s, as well as ensure her the house in town, which was now a prime object, it became by the same rule of moral obligation, her evident duty to marry Mr. Rushworth if she could (67).
After Austen establishes the theme of marriage, the plot thickens with proposals and marriage in Volume II. Here, the author focuses on marriage and the proposal scenes which focus more on the art of persuasion using little dialogue. This ‘down-playing’ of dialogue tends to make the reader fail to consider the couples’ relationships rhetorically. Rather, the processes of persuasion that Austen uses allow the characters to understand their own passions and influence the passions, understanding, imagination, and, most importantly, the will of others to act.
In Chapter 21, although their engagement was introduced in Volume I, the marriage between Maria and Mr. Rushworth is seen as insignificant. Maria’s father finds Mr. Rushworth to be an ignorant man; therefore, he does not want his daughter to be unhappy. When Sir Thomas shares his concerns about Mr. Rushworth, Maria thanks him for his “paternal kindness,” but tells him that she has “the highest esteem for Mr. Rushworth’s character” (216). So, they marry. Austen purposefully does not allow the reader to witness the wedding as it is insignificant to the plot. Austen writes, “It was a very proper wedding . . . . It was done, and they were gone” (218). In most novels, the plot ends with the wedding; this wedding, however, occurs in the middle of the novel, implying that it has no relevancy to the overall plot.
Another example can be found in Chapter 31. Here, Austen presents an unsuccessful marriage proposal by Mr. Crawford to Fanny. When he informs Fanny that he has arranged for William to be promoted, she realizes that he is blackmailing her. Being of moral character, she does not “dump” him immediately, but knows that she has to reject him. Obviously, this marriage proposal upsets her. Fanny responds, “No, no, no, . . . This is all nonsense. Do not distress me. I can hear no more of this. Your kindness to William makes me more obliged to you than words can express; but I do not want, I cannot bear, I must not listen to such-No, no, don’t think of me” (308). Fanny realizes that she and Mr. Crawford do not share the same values - integrity, honesty, and goodness. A key point is that Fanny tells him emphatically no, yet everyone keeps trying to get her to change her mind.
After Maria runs away with Mr. Crawford, we learn in Chapter 47 that Julia marriesMr. Yates because she is afraid of what her father, Sir Thomas, might do. Like Julia’s marriage to Mr. Rushworth, Austen considers their marriage insignificant. While Sir Thomas tries to find Maria, he learns that Julia has eloped with Mr. Yates. Austen writes, “. . . and Julia’s elopement, the additional blow which had met him on his arrival in London, though its force had been deadened at the moment, must, she knew, be sorely felt” (449).
In the final chapter of the novel, Austen does as she did in the introductory chapter, she steps out of the narrator’s role and speaks as the author. She says she does not want to dwell on unhappiness, so she gives the good news about the resolution of the story.
Let other pens dwell on guilt and misery. I quit such odious subjects as soon as I can, impatient to restore every body, not greatly in fault themselves, to tolerable comfort, and to have done with all the rest. (457)
Austen has nurtured Fanny and Edmond’s relationship from the outset. She writes:
I purposely abstain from dates on this occasion, that every one may be at liberty to fix their own, aware that the cure of unconquerable passions, and the transfer of unchanging attachments, must vary much as to time in different people. . . (465)
With such a regard for her, indeed, as his [Edmund] had long been, a regard founded on the most endearing claims of innocence and helplessness, and completed by every recommendation of growing worth, what could be more natural than the change? Loving, guiding, protecting her, as he had been doing ever since her being ten years old, her mind in so great a degree formed by his care, and her comfort depending on her kindness . . . (465)
And so as the plot goes, it ends with the wedding. Austen points out
With so much true merit and true love, and no want of fortune and friends, the happiness of the married cousins must appear as secure as earthly happiness can be.—Equally formed for domestic life, and attached to country pleasures, their home was the home of affection and comfort . . . . (468)
In closing, Jane Austen, in Mansfield Park, shows how unmarried women in fiction situate themselves to respond to other characters to meet societal expectations of being married.
This paper will be posted at the end of this session (class) today if you would like to read and respond to it. Thank you!
QUESTION: How do you see the role of women writers and their treatment of marriage? Is it a fair assessment? Is it an exploited topic?